User reviews and opinions

Documents

ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole clair avec point de flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de "voltage dangereux" non isol d'ampleur suffisante pour constituer un risque d'lctrocution. The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation l'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.
Pour prvenir les chocs lectriques ne pas utiliser cette fiche polarise avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent tre insres fond sans laisser aucune pariie dcouvert.
15. Grounding or Polarization Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated. 16. Power Precautions Unplug this Mackie product during lightning storms or when unused for long periods of time. Note that this Mackie product is not completely disconnected from the AC mains service when the power switch is in the OFF position. 17. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.

SAFETY INSTRUCTIONS

1. Read Instructions All the safety and operation instructions should be read before this Mackie product is operated. 2. Retain Instructions The safety and operating instructions should be kept for future reference. 3. Heed Warnings All warnings on this Mackie product and in these operating instructions should be followed. 4. Follow Instructions All operating and other instructions should be followed. 5. Water and Moisture This Mackie product should not be used near water for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, near a swimming pool, swamp or salivating St. Bernard dog, etc. 6. Cleaning Clean only with a dry cloth. 7. Ventilation This Mackie product should be situated so that its location or position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilation openings, or placed in a built-in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings. 8. Heat This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat. 9. Power Sources This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product. 10. Power Cord Protection Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit this Mackie product. 11. Object and Liquid Entry Care should be taken so that objects do not fall on, and liquids are not spilled into, this Mackie product.

INTRODUCTION

Thank you for choosing a Mackie Designs professional compact mixer. The 1604-VLZ PRO is equipped with our new precision-engineered XDRTM Extended Dynamic Range premium studio-grade mic preamp featuring: Full gain range from 0 to 60dB +22 dBu line signal handling capability 130 dB dynamic range Distortion less than 0.0007%, 20Hz to 20kHz Bullet-proof RF rejection using DC pulse transformer circuitry Now that you have your 1604-VLZ PRO, find out how to get the most from it. Thats where this manual comes in. Whenever a specific 1604-VLZ PRO component is mentioned, itll be in all capital letters sans-serif type. That can help you find references to specific controls much faster, without slowing you down as you read normally. For example: The quick brown fader jumped over the RUDE SOLO LIGHT. Throughout these chapters youll find illustrations, with each feature numbered. If youre curious about a feature, simply locate it on the appropriate illustration, note the number attached to it, and find that number in the nearby paragraphs or refer to the table of contents. Youll also find cross-references to these numbered features within a paragraph. For instance, if you see To wire your own cables: , simply find that number in the manual and youve found your answer. (These are not page numbers.) Youll also notice feature numbers just floating in space, like this. These numbers direct you to relevant information. This icon marks information that is critically important or unique to the 1604-VLZ PRO. For your own good, read them and remember them. They will be on the final test. This icon will lead you to in-depth explanations of features and practical tips. While not mandatory, theyll have some valuable information.

HOW TO USE THIS MANUAL

Since many of you folks will want to hook up your 1604-VLZ PRO immediately, the first pages you will encounter after the table of contents are the ever popular hookup diagrams. These show typical mixer setups for Record/Mixdown, Video, Disc Jockey and Stereo PA. After this section is a detailed tour of the entire mixer. Every feature of the 1604-VLZ PRO will be described geographically; in other words, in order of where it is physically placed on the mixers top or rear panel. These descriptions are divided into the first three manual chapters, just as your mixer is organized into three distinct zones: 1. PATCHBAY: The zillion jacks on the back of the pod. 2. CHANNEL STRIP: The sixteen channel strips on the left. 3. OUTPUT SECTION: The output section on the right.

PATCHBAY

INSERT INSERT INSERT INSERT INSERT LINE
More resources on our website @ www.mackie.com
THE GLOSSARY: A Haven of Non-Techiness For The Neophyte

1604-VLZPRO

CHANNEL STRIPS

U U U U U U U U U U U

OUTPUT SECTION
The "Glossary of Terms" is a fairly comprehensive dictionary of pro-audio terms. If terms like clipping, noise floor, or unbalanced leave you blank, refer to this glossary for a quick explanation. ARCANE MYSTERIES ILLUMINATED "Arcane Mysteries" discusses some of the down n dirty practical realities of microphones, fixed installations, grounding, and balanced versus unbalanced lines. Its a goldmine for the neophyte and even the seasoned pro might learn a thing or two.

remove screws

replace screws

remove plate

rackmount tab slots

rotate pod

flush mount

sunken

PATCHBAY DESCRIPTION
At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, and the ultimate destination for your sound: a tape recorder, PA system, etc. A few of the features described in this section are on top of the mixer, but most are out back on the pod. and noise. You can plug in almost any kind of mic that has a standard XLR-type male mic connector. Always be sure to perform the Level-Setting Procedure. To learn how signals are routed from these inputs:. If you wire your own, connect them like this:

SHIELD HOT

E-Z INTERFACE
Concerned about levels, balancing, impedances, polarity, or other interface goblins? Dont be. On your 1604-VLZ PRO, you can patch anything almost anywhere, with nary a care. Heres why: Every input and output is balanced (except insert, phones and RCA jacks). Every input and output will also accept unbalanced lines (except XLR jacks). Every input is designed to accept virtually any output impedance. The main left and right mix outputs can deliver 28dBu into as low as a 600 ohm load. All the other outputs can deliver 22dBu into as low as a 600 ohm load. All the outputs are in phase with the inputs. All we ask is that you perform the Level-Setting Procedure every time you patch in a new sound source. So stop worrying and start mixing!

COLD SHIELD

COLD 3 HOT

SHIELD COLD

Pin 1 = ground or shield Pin 2 = positive (+ or hot) Pin 3 = negative ( or cold) Professional ribbon, dynamic, and condenser mics will all sound excellent through these inputs. The 1604-VLZ PROs mic inputs will handle almost any kind of mic level you can toss at them, without overloading.

PHANTOM POWER

Most condenser mics require phantom power, where the mixer sends low-current DC voltage to the mics electronics through the same wires that carry audio. The 1604-VLZ PROs phantom power is globally controlled by the PHANTOM switch on the rear panel. Semipro condenser mics often have batteries to accomplish the same thing. Phantom owes its name to an ability to be unseen by dynamic mics (Shure SM57/SM58, for instance) that dont need external power and arent affected by it anyway. Unless you know for certain it is safe to do so, never plug single-ended (unbalanced) microphones, instruments or electronic devices into the MIC input jacks if the phantom power is on.

AUX RETURN BAL/UNBAL AUX SEND BAL/UNBAL DIRECT OUT BAL/UNBAL
MIC/LINE INPUTS ON EVERY CHANNEL
The original CR-1604 had six mic/line channels and ten line-only channels. That was fine for most applications, but live sound users were forced to go out and buy the XLR-10 mic input add-on module. No more. Each and every channel on the New Improved 1604-VLZ PRO has the legendary Mackie mic/line input circuit. Its like getting a free XLR-10 with your mixer!

MIC INPUTS

We use phantom-powered, balanced microphone inputs just like the big studio megaconsoles, for exactly the same reason: This kind of circuit is excellent at rejecting hum

LINE INPUTS

These /4" jacks share circuitry (but not phantom power) with the mic preamps. You can use these inputs for virtually any signal youll come across, from instrument levels as low as 50dB to operating levels of 10dBV to +4dBu, as there is 60dB of gain available via the TRIM knob. Always be sure to perform the Level-Setting Procedure. To learn how signals are routed from these inputs:. To connect balanced lines to these inputs, use a 1/4" tip-ring-sleeve (TRS) plug, the type found on some stereo headphones:
RING SLEEVE SLEEVE RING TIP
This 15dB of attenuation can be very handy when you are inserting a signal that is very hot, or you want to add a lot of EQ gain, or both. Without this virtual pad, a scenario like that might lead to channel clipping.
These 1/4" jacks are for connecting serial effects processors such as compressors, equalizers, de-essers, or filters. The INSERT point is after the TRIM control, but before the channels EQ, LOW CUT, fader and MUTE controls. Insert cables must be wired thusly:
tip ring sleeve SEND to processor (TRS plug) tip

RING TIP SLEEVE

This plug connects to one of the mixers Channel Insert jacks.
ring RETURN from processor
Tip = positive (+ or hot) Ring = negative ( or cold) Sleeve = shield or ground To connect unbalanced lines to these inputs, use a 1/4" mono (TS) phone plug or standard instrument cable:

SLEEVE SLEEVE TIP TIP

Tip = send (output to effects device) Ring = return (input from effects device) Sleeve = common ground Even though channels 18 already have DIRECT OUT jacks , INSERT jacks can also be used as channel direct outputs; post-TRIM, pre-LOW CUT, and pre-EQ. Heres three ways you can use the INSERT jacks:
Tip = signal (+) Sleeve = ground

MONO PLUG

SLEEVE

Channel Insert jack

Direct out with no signal interruption to master. Insert only to first click.
Yes its true, these controls are not located in the patchbay section at all. Theyre found along the top row of knobs in the channel strip section. But their purpose is so closely linked with the MIC and LINE input jacks that we couldnt bear to separate them. Heres why: Every time you plug something into a MIC or LINE input jack, you should perform the LevelSetting Procedure , and that procedure is basically how to use the TRIM knob. TRIM adjusts the input sensitivity of the MIC and LINE inputs. This allows signals from the outside world to be adjusted to optimal internal operating levels. Through the XLR jack (MIC), there will be 0dB of gain with the knob fully down, ramping to 60dB of gain fully up. Through the 1/4" input (LINE), there is 15dB of attenuation fully down and 45dB of gain fully up, with a U (unity gain) mark at 10:00.
Direct out with signal interruption to master. Insert all the way in to the second click.

STEREO PLUG

For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect.)

DIRECT OUT

Found only on channels 18, these 1/4" jacks deliver the signal from the very end of the channel path; post-TRIM, post-EQ, post-LOW CUT, post-fader and post-MUTE. They are the key player in split monitoring, making the 1604-VLZ PRO perfect for an 8-track studio. To wire your own cables:.

SPLIT MONITORING

With split monitoring, you use the first eight channels for your sound sources: vocal mics, drum mics, keyboard/synth outputs, guitar effects outputs, that sort of thing. From there, the channels manipulate the sound, but are not assigned to the output section. Instead, theyre patched from the channels DIRECT OUT jacks to the corresponding multitrack input (DIRECT OUT 1 to multitrack input 1, 2 to 2, 3 to 3, etc.). The signals will now be recorded or pass directly through the multitrack, depending on each tracks record-ready status.

multitrack machine

sound sources

direct outputs

group outputs
The outputs of the multitrack are then patched to the next eight LINE inputs on the 1604-VLZ PRO (multitrack out 1 to LINE input 9, 2 to 10, 3 to 11, etc.). Aha! Thats why it says TRACK 1 next to channel 9s fader, TRACK 2 next to channel 10, and so forth. These channels (916) will be assigned to the mixers output section, delivering the signals to their ultimate destination, which may be your mixdown 2-track, your control room system, or your headphones.
But lets not forget that the 1604-VLZ PRO is a 4-bus mixer. These buses lead to the SUB OUTS , and are designed to accomplish the task of getting channels to the multitrack without using the direct outputs. For example, a channel is assigned to SUB OUT 1. SUB OUT 1s output is patched to multitrack input 1. From there, the multitrack output goes to the mixers channel 9 LINE input, as we just discussed. (Hot tip: To feed an 8-track deck with 4 sub outputs, simply use Y-cords: SUB OUT 1 feeds tracks 1 and 5, 2 feeds 2 and 6, 3 feeds 3 and 7, and 4 feeds 4 and 8. Tracks in record mode will accept the signal, and tracks in safe mode will ignore the signal.) The advantages: You can assign any channel to any track, without repatching. You can assign multiple channels to one track and control the overall level of that subgroup. You cant bounce tracks without this feature. Perhaps the best method is to do both: Use the SUB OUTS to feed multichannel submixes (like a drum kit) to some of the tracks, and the DIRECT OUT jacks to feed single-channel signals (like bass guitar) to the other tracks. The point is that you never listen directly to the source channels (18). You listen to the monitor channels (916) and theyre listening to the multitrack that is listening to the source channels. The main advantage is that you wont be forced to constantly repatch your multitrack just set it up and forget it. Youll also know for certain that the signals are indeed getting to the multitrack, since youre constantly listening to it. Another method of interfacing a multitrack is called inline monitoring, and requires a mixing console dedicated to that, like the Mackie 8Bus. Each of its channels is actually two channels: one carrying the mic/line sound source and the other carrying the multitrack output.

POWER CONNECTION

Just in case you lose the cord provided with the 1604-VLZ PRO, its power jack accepts a standard 3-prong IEC cord like those found on most professional recorders, musical instruments, and computers. At the other end of our cord is get this a plug! Not a black cube or, as were fond of calling them, a wall wart. We did this for some very good reasons: The 1604-VLZ PRO has sophisticated power requirements that a wall wart cannot provide. Wall warts are inconvenient, fragile, radiate huge hum fields, hog extra jacks on your power strip and get in the way. If you lose a wall wart, youre in trouble, but if you lose the 1604-VLZ PROs power cord, you can get a new one at any electronics, music, or computer store. You can even buy them at Radio Shack (part # 278-1257). Plug the 1604-VLZ PRO into any standard grounded (3-pin) AC outlet or into a power strip of proper voltage. WARNING: Disconnecting the plugs ground pin can be dangerous. Please dont do it.
Tip = send (output to effects device) Ring = return (input from effects device) Sleeve = common ground (connect shield to all three sleeves)

MAIN OUTS

These 1/4" jacks are usually patched to the inputs of your 2-track mixdown deck (unless youve chosen to use the TAPE OUTPUT RCA jacks), or to the house amplifier during live sound sessions. To learn how signals are routed to these outputs:. To use these outputs to drive balanced inputs, connect 1/4" TRS (Tip-Ring-Sleeve) phone plugs like this:
RING Tip = + (hot) TIP Ring = (cold) SLEEVE Sleeve = ground To use these outputs to drive unbalanced inputs, connect 1/4" TS (Tip-Sleeve) phone plugs like this: SLEEVE SLEEVE TIP
The 1604-VLZ PRO is fused for your (and its own) protection. If you suspect a blown fuse, disconnect the power cord, pull the fuse drawer out (located just below the cord receptacle) and replace the fuse with a 1A SLO BLO, 5x20mm, available at electronics stores or your dealer (or a 500mA [0.5 amps] SLO BLO 5x20mm if your 1604-VLZ PRO is a 220V-240V unit).
Tip = signal Sleeve = ground

MONO OUTPUT

It happens to everybody sooner or later: The forces that govern your world will demand a monaural output from your painstakinglycreated stereo panorama. The last thing you want to do is start twirling all your carefullyplaced PAN settings to one side. What to do? Stick a cord in this 1/4" jack, hand the other end to Mr. Mono, and youre done. Hes got his mono mix and youve still got your stereo mix. The MONO output is nothing more than a mix of the left and right MAIN MIX.

Used in conjunction with the LOW CUT switch , you can boost the LOW EQ without injecting a ton of subsonic debris into the mix. We recommend using the LOW CUT feature on all channels, except low frequency signals, like kick drums and bass guitars. The MID EQ , or midrange, has a fixed bandwidth of 1.5 octaves. The MID knob sets the amount of boost or cut, up to 15dB, and is effectively bypassed at then center detent. The frequency knob sets the center frequency, sweepable from 100Hz to 8kHz.

LOW CUT

The LOW CUT switch, often referred to as a high pass filter (all depends on how you look at it), cuts bass frequencies below 75Hz at a rate of 18dB per octave. This aint no thrown-in dime-store filter an 18dB per octave curve requires an elaborate circuit. Nothing but the best for you. We recommend that you use LOW CUT on every sound source except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. These aside, there isnt much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but low cut can help reduce the possibility of feedback in live situations, and it helps to conserve amplifier power. With LOW CUT, you can safely boost LOW EQ. Many times, bass shelving eq can really benefit voices. Trouble is, adding LOW EQ also boosts the subsonic debris: Stage rumble, mic handling clunks, wind noise and breath pops. LOW CUT removes all that debris so you can boost the LOW EQ without frying your woofer. Heres a frequency curve of LOW EQ combined with LOW CUT:

10kHz 20kHz

+10 +5
20Hz 100Hz 1kHz 10kHz 20kHz
Most of the root and lower harmonics that define a sound are located in the 100Hz8kHz frequency range, and you can create drastic changes with these two knobs. Many engineers use MID EQ to cut midrange frequencies, not boost them. One popular trick is to set the MID fully up, turn the frequency knob until you find a point where it sounds just terrible, then back the MID down into the cut range, causing those terrible frequencies to disappear. Sounds silly, but it works. Sometimes. The HI EQ provides you up to 15dB boost or cut at 12kHz, and it is also flat at the detent. Use it to add sizzle to cymbals, an overall sense of transparency, or an edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss.

AUX TALK

First of all, there is no particular alliance between AUX SEND 1 and AUX RETURN 1. Theyre just numbers. Theyre like two complete strangers, both named Fred. Sends are outputs, returns are inputs. The AUX knob taps the signal off the channel and sends it to the AUX SEND outputs. AUX 1 and 2 are sent to the AUX SENDS 1 and 2 master knobs before the AUX SEND outputs and AUX 3 through 6 are sent directly. These outputs are fed to the inputs of a reverb or other device. From there, the outputs of the external device are fed back to the mixers AUX RETURN inputs. Then these signals are sent through the AUX RETURN level controls, and finally delivered to the MAIN MIX. So, the original dry signals come from the channels to the MAIN MIX and the affected wet signals come from the AUX RETURNS to the MAIN MIX, and once mixed together, the dry and wet signals combine to create a glorious sound. Armed with this knowledge, lets visit the Auxiliary World:

AUX SENDS (MASTER)

These knobs provide overall level control of AUX SENDS 1 and 2, just before theyre delivered to their AUX SEND outputs. This is perfect for controlling the level of stage monitors, since youll be using AUX 1 and 2 for this, with their PRE switches engaged. AUX SENDS 3 through 6 have no such control theyll 1604-VLZPRO 16-CHANNEL MIC/ LINE MIXER just send their mixes directly to WITH PREMIUM XDR MIC PREAMPLIFIERS LAMP their respective AUX SEND outU U U puts at unity gain. This knob goes from off (turned 1 U U U fully down), to unity gain at the 2 center detent, with 10dB of extra gain (turned fully up). As with AUX U SEND some other level controls, you may never need the additional gain, but U if you ever do, youll be glad you bought a Mackie. PHAN PWR This is usually the knob you STEREO AUX RETURN turn up when the lead singer U glares at you, points at his stage monitor, and sticks his thumb in the air. (It would follow suit that if the singer stuck his thumb down, youd turn the knob down, but that never happens.)

Meters vs. Reality

You may already be an expert at the world of +4 (+4dBu=1.23V) and 10 (10dBV=0.32V) operating levels. Basically, what makes a mixer one or the other is the relative 0dB VU (or 0VU) chosen for the meter display. A +4 mixer, with a +4dBu signal pouring out the back will actually read 0VU on its meter display. A 10 mixer, with a 10dBV signal trickling out, will read, you guessed it, 0VU on its meter display. So when is 0VU actually 0dBu? Right now! At the risk of creating another standard, Mackies compact mixers address the need of both crowds by calling things as they are: 0dBu (0.775V) at the output shows as 0VU on the meter display. What could be easier? By the way, the most wonderful thing about standards is that there are so many to choose from. Thanks to the 1604-VLZ PROs wide dynamic range, you can get a good mix with peaks flashing anywhere between 20 and +10dB on the meter display. Most amplifiers clip at about +10dB, and some recorders arent so forgiving either. For best real-world results, try to keep your peaks between 0 and +7. Please remember: Audio meter displays are just tools to help assure you that your levels are in the ballpark. You dont have to stare at them (unless you want to).

AUX SENDS SOLO

Once again, in a live sound situations AUX SEND 1 and 2 are likely to feed your stage monitors. Youll want to check the mix youre sending them, and thats what these two buttons are for. (AUX 3 through AUX 6 have no such switch.) Beside each switch is a green LED that, just like the channels 20 LED , helps you find the rogue SOLO switch. The only thing different about AUX SENDS SOLO is that its not really PFL (pre-fader listen), and its not really SIP (solo-in-place), its actually AFL (after-fader listen, and yes, we know theres no fader in this case.) During NORMAL (AFL) mode , youll get AUX SEND 1s solo signal, post-AUX SENDS master level, in the left side of the C-R OUTS, PHONES output and meter display, and AUX SEND 2 on the right side. (If you ever use AUX 1 and 2 to create a stereo monitor mix, youll understand why.) In LEVEL SET (PFL) mode, youll get the signal dead-center, but still postAUX SENDS master level.

EFFECTS TO MONITORS

If you want to add reverb or delay to the stage monitor mixes, these are the knobs for you. Operating independently of their respectively numbered AUX RETURNS level controls, these knobs are exactly the same as the AUX 1 and AUX 2 knobs found in the channel strip. These two knobs feed AUX RETURN signals to their respective AUX SEND outputs : TO AUX SEND 1 feeds AUX RETURN 1 to AUX SEND 1 master, and TO AUX SEND 2 feeds AUX RETURN 2 to AUX SEND 2 master. They are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15dB of gain turned fully up. AUX RETURN 3 and AUX RETURN 4 have no such knobs.
MAIN MIX TO SUBS (AUX RET 3)
With this switch up, AUX RETURN 3 behaves like all the others it delivers a stereo signal, regulated by its level knob, to the MAIN MIX. When you engage this switch, the signals are removed from the MAIN MIX buses and sent to the 1-2/3-4 switch, which diverts the signal once more. Were not finished. Please read on.

AUX RETURNS (LEVEL)

These four controls set the overall level of effects received from the stereo AUX RETURN input jacks. These controls are designed to handle a wide range of signal levels each knob goes from off, to unity gain at the detent, to 20dB gain fully clockwise, to compensate for low-level effects. Signals passing through the STEREO AUX 1604-VLZ PRO 16-CHANNEL MIC/ LINE MIXER RETURN level controls will proWITH PREMIUM XDR MIC PREAMPLIFIERS LAMP ceed directly to the MAIN MIX U U U fader , with exceptions that 1 well discuss in a moment. U U U Typically, these knobs can 2 just live at the center detent, and the effects devices output AUX U SEND control should be set at whatever they call unity gain (check U their manual). If that turns out to be too loud or too quiet, adPHAN PWR just the effects devices outputs, STEREO AUX RETURN not the mixer. That way, the U mixers knobs are easy to relocate at the center detent.

6.0" (152.4mm)

6.6" (167.6mm)
17.9" (454.7mm) 11 rack spaces

SERVICE INFO

Details concerning Warranty Service are spelled out on the Warranty Card included with your mixer (if its missing, let us know and well rush one to you). If you think your 1604-VLZ PRO has a problem, please do everything you can to confirm it before calling for service. Doing so might save you from being deprived of your mixer. Of all Mackie products returned for service (which is hardly any at all), roughly 50% are coded CND Could Not Duplicate, which usually means the problem lies somewhere other than the mixer. These may sound obvious to you, but heres some things you can check:

REPAIR

Service for the U.S. version of the 1604-VLZ PRO is only available from Mackie Designs, located in sunny Woodinville, Washington. (Service for mixers living outside the United States can be obtained through local dealers or distributors.) If your mixer needs service, follow these instructions: 1. Review the preceding troubleshooting suggestions. Please. 2. Call Tech Support at 1-800-258-6883, 8am to 5pm PST, to explain the problem and request an R.A. number. Have your mixers serial number ready. You must have a Return Authorization number, or we may refuse the delivery. 3. Set aside the power cord, owners manual, or anything else that youll ever want to see again. We are responsible for the return of the mixer only. 4. Pack the mixer in its original package, including endcaps and box. This is VERY IMPORTANT. When you call for the RA number, please let Tech Support know if you need a new box. Mackie is not responsible for any damage that occurs due to non-factory packaging. 5. Include a legible note stating your name, shipping address (no P.O. boxes), daytime phone number, R.A. number and a detailed description of the problem, including how we can duplicate it. 6. Write the R.A. number in BIG PRINT on top of the box. 7. Ship the mixer to us. We suggest insurance for all forms of cartage. Ship to this address: Mackie Designs Inc. SERVICE DEPARTMENT 16220 Wood-Red Rd. NE Woodinville, WA 98072 8. Well try to fix the mixer within five business days. Ask Tech Support for current turn-around times when you call for your RA number. We normally send everything back prepaid using three-day shipping. However, if you rush your mixer to us by next-day air, well treat it in kind by shipping it back in the same way in which it was received. This paragraph does not necessarily apply to non-warranty service.